The city of Ixelles, or Elsene, one of the nearly twenty municipalities of Brussels, and the birth place of screen actress, style icon and beloved humanitarian Audrey Hepburn (1929-1993), has inaugurated a garden with a bronze statue to honor her life and work.

To this day, the Academy Award-winning star who appeared in screen classics such as “Roman Holiday” (1953), “Sabrina” (1954), “The Nun’s Story” (1959), “Breakfast at Tiffany’s” (1961) and “My Fair Lady” (1964) remains one of the most successful actresses of all time. Later, she was praised internationally for her humanitarian work when she became a Goodwill Ambassador for UNICEF in 1988, and traveled the world to raise money and awareness for children who suffered from malnutrition. In recognition of her humanitarian work, she received the U.S. Presidential Medal of Freedom in 1992 and the Jean Hersholt Humanitarian Award during the Academy Awards ceremony of 1993, shortly after she had passed away. Her son Sean Hepburn Ferrer (b. 1960) accepted the award on her behalf.

The Audrey Hepburn Garden is located in Ixelles/Elsene, close to her birth house at 48 Rue Keyenveld/Keienveldstraat, where she was born on May 4, 1929. Last month, also on May 4—Ms. Hepburn’s 93th birthday anniversary—Mr. Ferrer attended the unveiling of the statue.

Recently, I had the pleasure of talking to Mr. Ferrer about this event, his mother and his work as he devotes most of his time and energy to her body of work and honors her humanitarian work with various non-profit organizations that bear her name. He’s also the author of the best-seller “Audrey Hepburn: An Elegant Spirit” (2003).

The inauguration of the Audrey Hepburn Garden, as reported by Euronews

Mr. Ferrer, can you tell something about the history of your mother’s bronze statue in the Audrey Hepburn Garden?

It was sculpted by Kees Verkade [1941-2020], a very well-known sculptor who resided in Monaco. He sculpted most of the royal family of Monaco and had many exhibitions all over Europe. Being of Dutch origin, he wanted to do something in memory of my mother. So he called me up and said, ‘Your mother has done so much for humanity that I would like to sculpt her to memorialize her.’ We spoke at length, he then came to see me and in the end, he said, ‘If you could ask for anything, what would you like the statue to be?’ I replied, ‘I would like to ask for the impossible: when you look at the statue, I would like you to see the three women she became. First, the young woman who became an actress, second the young woman who became the mother and wife and ultimately the mature woman who gave her life for children as a Goodwill Ambassador for UNICEF—with a tinge of disappointment in all of us for the way we treat our future generations. And the statue is one of those pieces that require you to sit with it, look at it and allow these three personas come to you in waves. It was originally installed in front of The Audrey Hepburn Pavilion, an old school building that had been abandoned for a while in Tolochenaz, Switzerland, until it was restored into a little Pavilion honoring her in two small rooms. That was the first exhibition I ever created with photographs, film posters, focused on her career and the UNICEF years: the entire exhibition was maybe two hundred square meters, but it was lovely. It was a lovely-looking building with a nice garden around it, a stone’s throw from the cemetery. So the statue rested there in front of the Pavilion for a long time. Then my brother [Luca Dotti] was approached by an Irish sculptor who had created another statue—a little Disney-ish from my point of view—that was installed in the square of Tolochenaz. At that point we had sold her house in Switzerland, and had taken down the small exhibition because we didn’t have enough material to do it and other exhibitions—these were the most important pieces. When I started planning for an exhibition celebrating her 80th birthday [2009], ten years before we actually opened it [“Intimate Audrey” in 2019], we also approached the city of Ixelles, looking for a space to hold the exhibition, and started to look for sponsors and so forth. Very early on, they said that they would do something to remember her with a plaque [her birth house in Ixelles] that was replaced a few times because people would take it down and abscond with it, and the idea was born to have a little park at the bottom of the street. The park was originally called Le Parc Solvay. Mr. Solvay was not just a brilliant chemist and industrialist at the end of the nineteenth century, he was also a real visionary. He did things for his employees that were almost a century ahead of their time. He provided all kinds of support and social assistance for his employees—something which was way ahead of its time. So my first reaction when they talked about this, was, ‘What an honor.’

Did you write a speech for the inauguration?

I don’t write speeches anymore after thirty-plus years I’ve been doing this. But I thanked everybody, and I said that it would have been very meaningful to her, not so much being memorialized or remembered that way—something she would have been very shy about—but the fact that children would play in the park. That would have been profoundly meaningful to her.

Was your mother a shy woman?

I think she was always shy when she had to talk about herself, or when she got a lot of attention. My mother never thought she was better than, or more than anyone else. She was worried to be found out. Some people are much more so; Johnny Carson, for example, was almost a-social off screen. This past year I have been working with Rooney Mara; she contacted me because she wants to do a film about my mother and we have been talking about it. She is extremely shy; she does no social media and no interviews which is kind of interesting if you think she’s chosen to be an actress. But a lot of actors have that sort of shyness. It’s very charming, in a way. It means that they are earnest and legitimate about their desire to act; they do it for the love of it and not so much to promote themselves.

When you were in Ixelles, did you go to you mother’s birth house as well?

I went there in the past. I met the man who owns it; he even wanted to turn it into a museum and got very excited about that. Unfortunately, like in many towns, including New York City, they take these lovely apartments and sort of cut them in half. So it’s now very narrow, almost like those town homes in London. Once you put the bed in the bedroom, you almost touch the either side with your head and your feet. It has this long stairwell going up, but it’s no longer the apartment that she grew up in. The flat was about the full width of the building; now it’s cut down in the middle. I’m not sure why they did it that way. But it’s lovely, it got a lovely view of the back, and the street is lovely. They turned it into a pedestrian zone and put plants on the sidewalks.

Did your mother ever talk about her time as a child in Belgium?

No, because they left this house very early on by the time she was five or six years old, and then they lived in the countryside in Belgium. That is when her father left when she was eight or nine years old.

You’re talking about the home in Linkebeek?

Yes. That house is a farmhouse and the owner knows its history. It’s surrounded by developments. I have been by it; it’s a lovely street, very green. The street is one way going down. Very pretty. But I have never been inside.

You have been very busy with the auction at Christie’s [2017], the exhibition “Intimate Audrey” [2019-2020, website], the documentary “Audrey: More Than An Icon” [2020] and the children’s book “Little Audrey’s Daydream” [2020]. Do you still have time or plans to do anything for film or television?

I am working on a few things I love. I co-manage the Estate to carefully select licensing and the permission to use her images, and there’s the whole aspect of protecting the images. That requires a lot of legal work—and sometimes lawsuits and so forth. But I have a couple of projects. And for the projects that you just mentioned, those are all non-profit as the proceeds go to charity. There is the Audrey Hepburn Society in Switzerland, which is sort of the mothership; there’s the Foundation in America, and I’ve created another non-profit association called Born in Bruxelles asbl which is the recipient of all the direct proceeds of the exhibition and the book.

The “Intimate Audrey” exhibitions were held in Brussels [2019], then in Amsterdam [2019-2020], and then came Covid.

I was very lucky, because I had a contract with the Beurs van Berlage [Amsterdam] to do three months [November 2019-January 2020] with an option for an additional three months. As much as the place is beautiful, there are a few things which make it very hard to have an important flux of visitors. Firstly, it’s near the station; the well-to-do people of Amsterdam don’t go there. There’s a lot of pot smoking in the street and sex shows around, so it’s a mixed bag event though Beurs van Berlage is such a gorgeous historical building. The other issue was, being in this historical building, you are limited on the amount of exterior advertising. So a family of four—Mr. and Mrs. with their two kids—can really walk by there twice in a day and miss it, not realizing there’s an exhibition because all you have is a one-sheet poster at the entry way and one banner very high up. But we did quite well although a few exhibitions failed there before, as we found out after we had gotten into a relationship with them. We did quite well because I had spent a lot on advertising on trams and around town, and worked with a lot of different resources. But early January 2020, I thought to myself, ‘I don’t think that it’s really worth it because an exhibition has costs, you have employees…’ In the end, I didn’t want to keep it another three months, so I didn’t exercise my option and we packed everything up. And the next thing I knew—it was Covid. Literally within a few days, the whole thing was starting to come out that there was this virus in China that was reaching our shores. Imagine if I had not pulled the plug at the time, I would have probably spent a year there with the stuff just sitting around, no visitors, still paying for staff.

Would you still consider taking “Intimate Audrey” to another city?

Yes. The purpose of “Intimate Audrey” was to retrace her youth; she was born in Brussels and she moved to Holland before the War, and then to London next. That will be another wonderful chapter. We’re in the process of identifying a location for London. This thing is all ready to go. We’ve been in discussion with BAFTA which is the British Academy; they just went through a major remodel of their offices. During that time they moved next door and now they moved back. But the building next door is actually quite nice, and being near them has a lot of positive effects. They have the ability to provide a lot of help and support—young film students who can help us open and close and all of that. The building is owned by the Crown, which means that maybe we can get a break. To make these things profitable, you cannot pay London rental prices. Just to give you sort of a perspective, Saatchi Gallery rents for about a £125,000 a week. So the secret here is to find a location that works with us as a non-profit and build up from there.

“Intimate Audrey” (2019, teaser for the Brussels exhibition)

Your mother’s birth house will always be an important location in Brussels. Is it the same with the birth house of your father [Mel Ferrer, 1917-2008] in Elberon, New Jersey?

No. He was very talented; he had a great literary background, he was a great writer, a wonderful producer, and he could ride and fence and did a lot of different films that were the action films or the Rambo films of the 1950s. He’s not as well remembered as she is. She is unique; she has survived the test of time more than most in Hollywood. She was more than just an actress. She was also the third and yet most well-remembered UNICEF ambassador coming from the entertainment industry. The combination of all of this, the choices she made, and the fact that she had this timeless look, made her unique. I think my father, after my grandmother, played the biggest role in her career because he managed her. Most of the films that she made were great, except maybe for “Paris When It Sizzles” [1964]. I’m not a huge fan of that, and films about the industry have always been a tough sell. So apart from that one, I think all of her films are good.

One of her final films was “They All Laughed” [1981], directed by Peter Bogdanovich who passed away last January. You were his assistant director and you also appeared in the film as Dorothy Stratten’s boyfriend. How do you remember Peter Bogdanovich?

I was very young and just spent a year working in Korea on a big war film, “Inchon” [1981], directed by Terence Young who had been like an uncle to me thoughout my youth. I had been studying international law in Geneva and I wasn’t sure that it was what I hoped for. It would have been interesting to understand the inner workings of how you can build and protect entertainment, but after six months of international waters I knew international law was not what I expected. So Terence said, ‘Why don’t you take a hiatus and work for me? I’m doing this big war film in Korea.’ I had known him my whole life, and so I went. It was an interesting experience; it was one of the most expensive films ever made at that time. When I got back home, Peter [Bogdanovich] had been talking to my mother about starring in “They All Laughed.” We had dinner in New York and we got along nicely. Even before my mother came on as an actress, he had offered me a job as his assistant. Maybe it was to encourage her to join the film, I don’t know, but in any event, I worked with him for a year. After the film was finished, I bought an old convertible which I drove through Canada from the East Coast back to California. During that trip, Dorothy Stratten [1960-1980] was shot by her husband and Peter was devastated. So then I worked with a heartbroken director who spent the next six months in his bed; I was working with the editor. We tested the film and then recut it, and we were all around him to keep him in some condition so that he could continue.

It’s still a great film, isn’t it? Very underestimated, too.

It’s a very lovely, old-fashioned ensemble piece, both behind and ahead of its time, and many have crowned it into a cult film. It’s also one of Quentin Tarantino’s favorite films. Even though it’s shot in the eighties, it has the structure of the old romantic comedies. Peter was a very interesting man, he had a very fortunate beginning of his career: after “Targets” [1968] everything he touched turned to gold during this Nouvelle Vague of American directors. He was very successful with “The Last Picture Show” [1971], “What’s Up, Doc?” [1972] and “Paper Moon” [1973], but I think he lacked this humility; that often happens when you are insecure at the core and need to masquerade it with a certain presumptuousness. Obviously, he knew his craft very well, but the executive end of our industry is often not as educated, nor do they care about content. They care more about casting, budget, and marketing. And so there was a struggle in this particular case. “They All Laughed” didn’t get the opening that he had hoped for. He blamed them and they blamed him. He ended up taking a huge mortgage on his Bel Air mansion which probably was also a decision because Dorothy was in the film and she had died. So he relaunched and distributed the film, but unfortunately, again, it didn’t work. And so he lost his house, his biggest asset at the time. But he was a great friend, a beautiful man, and a very special person. We all stayed in touch, also with Blaine Novak—the guy with the long hair [he played one of the detectives]. Peter went on; he had a good career and made more good films, maybe not at the height of what he had done before, but we’d still see each other. Then he got involved with Dorothy’s younger sister Louise, which was a bit strange; she had plastic surgery—maybe to look more like her sister—so it spiraled into a darker kind of Hollywood obsession story, which is not at all my cup of tea. But I loved Peter; through and through he was a good man, a good soul. But if you take the industry too seriously, it starts to get the better of you.

“They All Laughed” (1981)

He was also a very accomplished and knowledgable film historian, wasn’t he? Of all the books he wrote, I think his interview book “Allan Dwan: The Last Pioneer” [1971] is one of the best books written on the history of silent film and the transition from silent to sound.

Yes, he was equally as capable as a film historian and journalist as he was as a director.

You have been in this business your whole life. Do you think that you will ever write your mémoires?

I am very much like my mother. She said, ‘If I’m going to sit down and write my story, people will realize that I had a pretty straightforward life.’ She was a normal person who lived a simple life. I took that into consideration when I wrote “An Elegant Spirit” which is the companion book to the Barry Paris book [“Audrey,” published in 1996]; that is the most serious—historically—biography about her life. But I don’t take myself seriously enough. I know I had the opportunity to see and do things that go way beyond Hollywood, but there’s a part of me that doesn’t want to talk about people’s private lives. Also, a portion of my career has not been published; because of my languages, I was often hired for fixer jobs without a credit. I would say that about forty percent of my credits are not public. I have been a successful 21st century humanist in the sense of, ‘I have been able to do a lot of different things and I have learned a lot.’ And there’s really nothing that I have done, apart from the Australian miniseries “Cloudstreet” [2011], that I feel is so meaningful and gives me the right to speak of the industry. Don’t forget that when my mother passed away, I decided to catch the baton of the whole humanitarian socially relevant efforts for the family, so in 1993, after 15 years of making a good living in the entertainment industry, I sort of left it behind to create all those different foundations. Maybe I’m just not ready yet; maybe in twenty years I will, but not for the moment. I have written about my mother; she is the meaningful one in the family.

Zoom interview
June 7, 2022

FILMS

NEDERLANDS IN ZEVEN LESSEN, a.k.a. DUTCH IN SEVEN LESSONS (1948) DIR Charles Huguenot van der Linden, Heinz Josephson PROD Charles Huguenot van der Linden, Heinz Josephson, Harold Goodwin, George Julsing, Jack Dudok van Heel SCR Charles Huguenot van der Linden, Heinz Josephson CAM Peter Staugaard, Piet Schrikker ED Rita Roland MUS  CAST Sanny Day, Pia Beck, Wam Heskes, Greet Vogels, Koes Koen, Audrey Hepburn (KLM Stewardess), A. Viruly

ONE WILD OAT (1951) DIR Charles Saunders PROD John Croydon SCR Vernon Sylvaine, Lawrence Huntingdon (play by Vernon Sylvaine) CAM Robert Navarro ED Margery Saunders MUS Stanley Black CAST Robert Hare, Stanley Holloway, Vera Pearce, Andrew Crawford, Irene Handl, June Sylvaine, Constance Lorne, Audrey Hepburn (Hotel Receptionist), Roger Moore

LAUGHTER IN PARADISE (1951) DIR – PROD Mario Zampi SCR Jack Davies, Michael Pertwee (story by Jack Davies, Michael Pertwee) CAM William McLeod ED Guilio Zampi MUS Stanley Black CAST Fay Compton, George Cole, Alastair Sim, John Laurie, Joyce Grenfell, Beatrice Campbell, Guy Middleton, Hugh Griffith, Audrey Hepburn (Cigarette Girl), Sebastian Cabot

THE LAVENDER HILL MOB (1951) DIR Charles Crichton PROD Michael Balcon SCR T.E.B. Clarke CAM Douglas Slocombe ED Seth Holt MUS Georges Auric CAST Alec Guinness, Stanley Holloway, Sidney James, Alfie Bass, Marjorie Fielding, Edie Martin, Audrey Hepburn (Chiquita), Robert Shaw

YOUNG WIVES’ TALE (1951) DIR Henry Cass PROD Victor Skutezky SCR Anne Burnaby (play by Ronald Jeans) CAM Erwin Hillier ED Edward B. Jarvis MUS Philip Green CAST Joan Greenwood, Nigel Patrick, Derek Farr, Guy Middleton, Athene Seyler, Helen Cherry, Audrey Hepburn (Eve Lester), Irene Handl

SECRET PEOPLE (1952) DIR Thorold Dickinson PROD Sidney Cole SCR Thorold Dickinson, Wolfgang Wilhelm (story by Thorold Dickinson) CAM Gordon Dines ED Peter Tanner MUS Roberto Gerhard CAST Valentina Cortese, Serge Reggiani, Charles Goldner, Audrey Hepburn (Nora), Angela Fouldes, Megs Jenkins, Irene Worth, Bob Monkhouse

MONTE CARLO BABY, a.k.a. NOUS IRONS TOUS À MONTE CARLO (1952) DIR Jean Boyer, Jean Jerrold PROD Ray Ventura SCR Jean Boyer, Alex Joffé, Jean Jerrold, Serge Véber CAM Charles Suin ED Fanchette  Mazin MUS Paul Misraki CAST Ray Ventura, Henri Génès, Georges Lannes, Philippe Lemaire, Danielle Godet, John Van Dreelen, Audrey Hepburn (Linda Farrell / Melissa Farrell), Marcel Dalio, Suzanne Guémard, André Dalibert

ROMAN HOLIDAY (1953) DIR – PROD William Wyler SCR Dalton Trumbo, John Dighton, Ian McLellan Hunter CAM Frank F. Planer, Henri Alekan ED Robert Swink MUS Georges Auric CAST Gregory Peck, Audrey Hepburn (Princess Ann), Eddie Albert, Hartley Power, Harcourt Williams, Margaret Rawlings, Tullio Carminati

SABRINA (1954) DIR – PROD Billy Wilder SCR Billy Wilder, Samuel A. Taylor, Ernest Lehman (play by Samuel A. Taylor) CAM Charles Lang Jr. ED Arthur P. Schmidt MUS Frederick Hollander CAST Humphrey Bogart, Audrey Hepburn (Sabrina Fairchild), William Holden, Walter Hampden, John Williams, Martha Hyer, Joan Vohs, Marcel Dalio, Frances X. Bushman, Marion Ross

WAR AND PEACE (1956) DIR King Vidor PROD Dino De Laurentiis SCR Mario Soldati, Gian Gaspare Napolitano (adaptation by King Vidor, Mario Camerini, Bridget Boland, Ivo Perilli, Robert Westerby, Ennio De Concini; novel by Leo Tolstoy) CAM Jack Cardiff ED Leo Cattozzo MUS Nino Rota CAST Audrey Hepburn (Natasha Rostova), Henry Fonda, Mel Ferrer, Vittorio Gassman, Herbert Lom, Oskar Homolka, Anita Ekberg, Helmut Dantine, John Mills

FUNNY FACE (1957) DIR Stanley Donen PROD Roger Edens SCR Leonard Gershe CAM Ray June ED Frank Bracht MUS George Gershwin, Ira Gershwin, Leonard Gershe, Roger Edens CAST Audrey Hepburn (Jo Stockton), Fred Astaire, Kay Thompson, Michel Auclair, Robert Flemyng, Dovima, Suzy Parker, Sunny Harnett

LOVE IN THE AFTERNOON (1957) DIR – PROD Billy Wilder SCR Billy Wilder, I.A.L. Diamond (novel ‘Ariane’ by Claude Anet) CAM William C. Mellor ED Leonid Azar MUS Franz Waxman CAST Gary Cooper, Audrey Hepburn (Ariane Chavasse), Maurice Chevalier, John McGiver, Van Doude, Lise Bourdin, Olga Valéry, Franz Waxman, Louis Jourdan (narration)

GREEN MANSIONS (1959) DIR Mel Ferrer PROD Edmund Grainger SCR Dorothy Kingsley (novel by William Henry Hudson) CAM Joseph Ruttenberg ED Ferris Webster MUS Bronislau Kaper CAST Audrey Hepburn (Rima), Anthony Perkins, Lee J. Cobb, Sessue Hayakawa, Henry Silva, Nehemiah Persoff

THE NUN’S STORY (1959) DIR Fred Zinnemann PROD Henry Blanke, Fred Zinnemann [uncredited] SCR Robert Anderson (book by Kathryn C. Hulme) CAM Franz F. Planer MUS Franz Waxman ED Walter Thompson CAST Audrey Hepburn (Gabrielle van der Mal [Sister Luke]), Peter Finch, Dame Edith Evans, Dame Peggy Ashcroft, Dean Jagger, Mildred Dunnock, Beatrice Straight, Colleen Dewhurst

THE UNFORGIVEN (1960) DIR John Huston PROD James Hill SCR Ben Maddow (novel by Alan LeMay) CAM Franz F. Planer ED Russell Lloyd MUS Dimitri Tiomkin CAST Burt Lancaster, Audrey Hepburn (Rachel Zachary), Audie Murphy, John Saxon, Charles Bickford, Lillian Gish, Albert Salmi

BREAKFAST AT TIFFANY’S (1961) DIR Blake Edwards PROD Martin Jurow, Richard Shepherd SCR George Axelrod (novel by Truman Capote) CAM Franz F. Planer ED Howard A. Smith MUS Henry Mancini CAST Audrey Hepburn (Holly Golightly), George Peppard, Patricia Neal, Buddy Ebsen, Martin Balsam, John McGiver, Mickey Rooney

THE CHILDREN’S HOUR (1961) DIR – PROD William Wyler SCR John Michael Hayes (play by Lillian Hellman) CAM Franz F. Planer ED Robert Swink MUS Alex North CAST Audrey Hepburn (Karen Wright), Shirley MacLaine, James Garner, Miriam Hopkins, Fay Bainter, Karen Balkin, Veronica Cartwright

CHARADE (1963) DIR – PROD Stanley Donen SCR Peter Stone (story by Peter Stone, Marc Behm) CAM Charles Lang Jr. ED James Clark MUS Henry Mancini CAST Cary Grant Audrey Hepburn (Regina Lampert), Walter Matthau, James Coburn, George Kennedy, Dominique Minot, Ned Glass, Stanley Donen, Mel Ferrer, Peter Stone

PARIS WHEN IT SIZZLES (1964) DIR Richard Quine PROD George Axelrod SCR George Axelrod (story ‘La fête à Henriette’ by Julien Duvivier, Henri Jeanson) CAM Charles Lang Jr., Claude Renoir ED Archie Marshek MUS Nelson Riddle CAST William Holden, Audrey Hepburn (Gabrielle Simpson / Gaby), Grégoire Aslan, Raymond Duvaleix, Michel Thomas, Noël Coward, Tony Curtis, Mel Ferrer

MY FAIR LADY (1964) DIR George Cukor PROD Jack L. Warner SCR Alan Jay Lerner (book by Alan Jay Lerner; play by George Bernard Shaw) CAM Harry Stardling Sr. ED William H. Ziegler MUS André Previn CAST Audrey Hepburn (Eliza Doolittle), Rex Harrison, Stanley Holloway, Wilfrid Hyde-White, Gladys Cooper, Jeremy Brett, Theodore Bikel, Mona Washbourne, Betty Blythe

HOW TO STEAL A MILLION (1966) DIR William Wyler PROD Fred Kohlmar SCR Harry Kurnitz (story by George Bradshaw) CAM Charles Lang ED Robert Swink MUS Johnny Williams CAST Audrey Hepburn (Nicole), Peter O’Toole, Eli Wallach, Hugh Griffith, Charles Boyer, Fernand Gravey, Marcel Dalio, Jacques Marin

TWO FOR THE ROAD (1967) DIR – PROD Stanley Donen SCR Frederic Raphael CAM Christopher Challis ED Richard Marden, Madelèine Gug MUS Henry Mancini CAST Audrey Hepburn (Joanna Wallace), Albert Finney, William Daniels, Eleanor Bron, Claude Dauphin, Nadia Grey, George Descrieres, Gabrielle Middleton, Jacqueline Bisset, Judy Cornwell

WAIT UNTIL DARK (1967) DIR Terence Young PROD Mel Ferrer SCR Richard Carrington, Jane-Howard Carrington (play by Frederick Knott) CAM Charles Lang ED Gene Milford MUS Henry Mancini CAST Audrey Hepburn (Susy Hendrix), Alan Arkin, Richard Crenna, Efrem Zimbalist Jr., Jack Weston, Robby Benson, Mel Ferrer

ROBIN AND MARIAN (1976) DIR Richard Lester PROD Denis O’Dell SCR James Goldman CAM David Watkin ED John Victor Smith MUS John Barry CAST Sean Connery, Audrey Hepburn (Maid Marian), Robert Shaw, Richard Harris, Nicol Williamson, Denholm Elliott, Ian Holm

BLOODLINE (1979) DIR Terence Young PROD Sidney Beckerman, David V. Picker SCR Laird Koenig (novel by Sidney Sheldon) CAM Freddie Young ED Bud Molin MUS Ennio Morricone CAST Audrey Hepburn (Elizabeth Roffe), Ben Gazzara, James Mason, Romy Schneider, Omar Sharif, Claudia Mori, Irene Papas, Michelle Philips, Maurice Ronet, Gert Fröbe, Gabrielle Ferzetti

THEY ALL LAUGHED (1981) DIR Peter Bogdanovich PROD Blaine Novak, George Morfogen SCR Peter Bogdanovich, Blaine Novak CAM Robby Müller ED Scott Vickrey, William C. Carruth CAST Audrey Hepburn (Angela Niotes), Ben Gazzara, John Ritter, Dorothy Stratten, Patti Hansen, Blaine Novak, Sean Hepburn Ferrer, Glenn Scarpelli, Antonia Bogdanovich, Alexandra Bogdanovich, Elizabeth Peña, Peter Bogdanovich

ALWAYS (1989) DIR Steven Spielberg PROD Steven Spielberg, Frank Marshall, Kathleen Kennedy SCR Dalton Trumbo, Jerry Belson, Frederick Hazlitt Brennan (story ‘A Guy Named Joe’ by Chandler Sprague, David Boehm) CAM Mikael Salomon ED Michael Kahn MUS John Williams CAST Richard Dreyfuss, Holly Hunter, John Goodman, Brad Johnson, Audrey Hepburn (Hap), Roberts Blossom, Keith David, Marg Helgenberger

TV MOVIES

SAUCE TARTARE (1949) DIR Audrey Cameron PROD Walton Anderson SCR Matt Brooks MUS Allan Gray CAST Jessie Matthews, Claude Hulbert, Renee Houston, Muriel Smith, Jack Melford, Joan Heal, Audrey Hepburn, Jean Bayless

MAYERLING (1957) DIR Anatole Litvak PROD Fred Coe CAST Audrey Hepburn (Maria Vetsera), Mel Ferrer, Raymond Massey, Diana Wynyard

LOVE AMONG THIEVES (1987) DIR Roger Young PROD Robert A. Papzian SCR Stephen Black, Henry Stern CAM Gayne Rescher ED James Mitchell MUS Arthur B. Rubinstein CAST Audrey Hepburn (Baroness Caroline DuLac), Robert Wagner, Patrick Bauchau, Jerry Orbach, Brion James, Samantha Eggar, Christopher Neame

TV SERIES

BBC NIGHT THEATRE (1951) DIR William Templeton CAST (episode ‘The Silent Village’) Becket Bould, Peter Bull, Andrew Cruickshank, Audrey Hepburn (Celia), Anthony Ireland, Glyn Lawson, Joyce Redman, Jack Watling

CBS TELEVISION WORKSHOP: RAINY DAY IN PARADISE JUNCTION (1952) CAST Audrey Hepburn, Paul Langton, Carmen Matthew

DOCUMENTARIES

A WORLD OF LOVE (1971, UNICEF documantary special) PROD Alexander Cohen HOSTS Bill Cosby, Audrey Hepburn, Shirley MacLaine, Richard Burton, Julie Andrews, Barbra Streisand, Harry Belafonte

GARDENS OF THE WORLD, PARTS I-VI (1993) DIR Bruce Fanchini PROD Janis Blacksleger HOST Audrey Hepburn; Michael York (narration)